The main aspects of the study of the Crimean landscapes of the late XVIII–early XX century as a cultural heritage of Russia

Andreeva Evgeniya Viktorovna Postgraduate student; Department of Philosophy, Cultural Studies and Interlanguage Communications; Crimean University of Culture, Arts and Tourism Individual entrepreneur; IP Andreeva E.V. 39 Kievskaya str., Simferopol, Republic, 295017, Russia ra_duet@mail.ru

Kotlyar Elena Romanovna PhD in Art History Associate Professor of the Department; Department of Fine and Decorative Arts; Crimean Engineering and Pedagogical University named after Fevzi Yakubov 8 Uchebny Lane, Simferopol, Republic, 295015, Russia allenkott@mail.ru

Relevance.

The relevance of this topic is determined by the importance of regional cultural studies as an integral part of Russian culture, as well as the need to preserve and restore the Russian cultural heritage, since the preservation of the cultural memory of the people is the basis of their cultural identity. Cultural heritage research is important both in theory and in practice. The study of art, which is the self-awareness of culture, can provide answers to many questions facing modern society. A comprehensive systematic cultural study of fine art with a Crimean theme since its appearance at the end of the 18th century and throughout the 19th century in the paradigm of Russian cultural heritage makes it possible to significantly expand the field of research on the evolution of the image of Crimea in Russian fine art and cover the most diverse range of issues in the socio-cultural sphere. Referring to the time of the annexation of Crimea to the Russian Empire and its further development allows us to get an idea of how the peninsula developed, how it was perceived and depicted by artists in their works, being eyewitnesses and participants in socio-cultural processes that took place at various historical stages. All spheres of culture are very closely connected and influence each other, therefore this research is of an intersectoral nature. The Crimean Peninsula is a region with a very ancient and diverse history: traces of primitive people, numerous civilizations, and many ethnic groups living in these territories that contributed to the history of the peninsula — all this was inherited by the Russian Empire when Crimea became part of it. Along with the strategic and economic importance of the peninsula, the construction of ports and cities, the cultural development of Crimea, as well as its integration into the Russian cultural space, was of great importance. Together with the troops, scientists, researchers, and visual artists arrived on the peninsula, tasked with mapping and exploring new lands. The image of Crimea in the visual arts began to be created ^[23]. The works themselves represent a holistic image, art historical analysis allows us to study the artistic side of this issue, but there are many factors and aspects related to the socio-cultural sphere that are clarified during the study of historical documents, letters, biographies of artists, etc. Thus, in the course of studying the evolution of the image of Crimea in the visual arts, one can get both a holistic view of the works of art themselves and rise to the level of philosophical generalization in the process of studying the entire complex of connections and patterns of this phenomenon. Art, studied in a socio-cultural context, provides an opportunity to fill in the gaps in knowledge about the history of culture, and also contributes to the formation of value orientations for the development of our society in the future. The object of the research is the Russian cultural heritage. The subject is works of Russian fine art with a Crimean theme from the end of the XVIII—beginning of the XX century. The purpose is to identify the features of the study of Crimean landscapes as a cultural heritage of Russia. In this connection, the tasks are set: 1. — to consider some aspects of the study of the genre of Crimean landscapes from the perspective of Russian cultural heritage;

2. — to conduct a step—by-step analysis of the emergence and development of the Crimean landscape genre in Russian fine art; 3. - to determine the relationship of painting about Crimea with the general course of development of culture and art in Russia during the specified period.

The degree of scientific elaboration of the problem.

The problem of interpreting the artistic image in art has been faced by philosophers since ancient times: Aristotle considered it a way of mastering reality, G. Hegel interpreted it as a universal category of artistic creation, I. Kant considered it a complex internal process of artistic exploration of the world. The research of creative activity was carried out by S. S. Averintsev, M. M. Bakhtin, V. V. Bychkov, V. P. Grigoriev,
D. S. Likhachev, O. K. Rumyantsev. The study of Russian landscape painting has gone through several stages, starting with the three-volume Collection of Materials for the History of the Imperial St. Petersburg Academy of Arts for one hundred Years of its Existence, edited by P. N. Petrov (1864-1866) ^[1], which contains data on artists. Much later, in 1902, A. N. Benois published the first fairly complete study of Russian painting, The History of Russian Painting in the 19th Century ^[2]. In 1913, monographs by S. Glagol and M. N. Nevedomsky on the work of I. I. Levitan were published, as well as
I. E. Repina about A. I. Kuindzhi ^[3]. The next stage is characterized by historical and art criticism analysis and is related to the work of Russian researchers on the study and systematization of museum collections. Russian Russian Landscape- the Beginning of the 19th Century (1953) ^[4], as well as The Russian Landscape of the 18th–early 20th Century (1986) ^[5] play a separate role here. The Russian landscape of the second half of the 19th century is reflected in the research of F. S. Maltseva. Collections of articles edited by A. I. Leonov were also published, which included articles about Russian landscape painters N. S. Barsamov, L. A. Bespalov, M. I. Gorelov, O. A. Lyaskovskaya, A. A. Fedorov-Davydov, and others. The dissertations of E. V. Voroshilova (1993) are devoted to the coverage of issues related to the history of the Russian landscape,
L. O. Fedyushina (1997), S. V. Usacheva (2001), E. E. Gretskaya (2004), O. A. Kaparulina (2005), O. N. Kukhareva (2006), E. V. Grishina (2013), S. A. Zhuk (2014) and others. A large amount of informative and illustrative material is contained in the publications of V. S. Manin "Landscape. Russian Russian Genres in Painting" (2000) and "Russian Landscape painting. The end of the XVIII–XIX century" (2012) ^[6], as well as A. Y. Astakhov's "Landscape. Russian painting" (2002). In the publication "Russian Artists in Crimea"
G. N. Kuntsevskaya, V. S. Pogodin (2013) characterized the work of a number of famous Russian artists ^[7]. An analysis of the materials showed that insufficient attention is paid to works with Crimean themes in studies of the history of the Russian landscape. One of the reasons is the conditional territorial division in Soviet times, when Crimea was assigned to the Ukrainian SSR in 1954, and in the art history practice existing at that time, Crimean landscapes were rarely interpreted from the perspective of Russian national painting. In the available dissertation studies on the history of landscapes with Crimean themes, the creation of this genre is usually associated with the activities of I. K. Aivazovsky, but the role of Russian artists who stood at the origins of the Crimean landscape genre in the late 18th and early 19th centuries is completely ignored ^{[8, 9, 10]}. These "pioneers" created a picturesque image of Crimea, made a significant contribution to the development of the Russian landscape genre, and subsequently shared their experiences with students. The challenges of our time, the level of development of cultural studies, the need to apply new techniques and adhere to the principle of historicism dictate the need for a more comprehensive coverage of phenomena, a systematic, comprehensive study of the process of the origin and evolutionary development of landscape painting with Crimean themes as an integral part of Russian pictorial art as the cultural heritage of Russia. To do this, it is necessary to turn to the moment of the birth of the Crimean landscape genre, to study the prerequisites and factors of its emergence, to determine its place in the development of the Russian national landscape, as well as to identify and explore the various stages of the development of landscape painting with Crimean themes and the cumulative image that develops when studying various aspects in the discourse of Crimean themes in Russian art. All of the above sets a new vector of research and determines its novelty and relevance. The scientific approach is based on the principle of historicism and an appeal to the very beginnings of the Russian development of Crimea using historical-genetic, comparative-historical and other methods.

The main part.

The development of the problems of studying the Crimean landscapes as a Russian cultural heritage was based on the analysis of the work of Russian scientists in this field. The staff of the Institute of Heritage has determined that the cultural heritage of the peoples of Russia is a fundamental concept that constitutes the socio-cultural, intellectual and spiritual foundation of modern society; it includes outstanding objects and values created by past generations that have stood the test of time, identified, preserved and used in socio-cultural and spiritual processes, passed on to subsequent generations as the public domain of the state and society. This is a unique phenomenon that defines Russia's special place among other world cultures and civilizations, and the identity of its peoples ^{[7, pp. 34-35]}. Intangible cultural heritage and its civilizational component are of particular importance. Tangible and intangible heritage are internally interconnected. But in practice, it is the latter that needs careful development of theoretical and methodological foundations. In the aggravated socio-political situation of our time, there is an alarming trend of purposeful destruction of outstanding objects of world cultural heritage, which is evidence of degradation ^{[11, p. 23]}. In this regard, the preservation, research, scientific interpretation and popularization of cultural heritage sites are of paramount importance.

A well-known scientist and public figure, academician D. S. Likhachev, who headed the Soviet Cultural Foundation, emphasized that it was vital for humanity to preserve its historical and cultural habitat ^{[12, p. 82]}. His view of the national cultural tradition, cultural values and heritage as a constantly evolving phenomenon that is of lasting relevance in the modern era is very important: "To feel oneself an heir to the past means to realize one's responsibility to the future" ^{[13, pp. 68-69]}. Therefore, it is necessary to actualize such topics in the history of art, the study of which is able to answer important questions of our time. Inheritance, unlike inheritance, implies a conscious choice. Inheritance activity does not involve the passive acceptance of inheritance, but the occupation of an active, active position in relation to it and its diverse facets and components, the meaning of which is to separate a certain part of the inheritance and transform it into a legacy. The development of heritage activity is at the very beginning, and it needs scientific, philosophical, theoretical and methodological support and justification for understanding the real role of cultural heritage in modern times, establishing its influence in society. ^{[14, p. 173]}. The relevance of the study of Crimean landscapes from a rather distant time is determined not so much by the art historical component, since this is the lot of a highly specialized field, but by their socio-cultural context, the understanding of which allows us to approach generalizations of a higher order, to reach the value-semantic level of awareness. This position echoes the thought of the famous modern Russian cultural critic Igor Vadimovich Kondakov: "Cultural phenomena of the past, present and future have always existed simultaneously, in continuity with each other and in competition with each other ...". They either became established in the minds and practice of people, creating a layer of actual heritage; or they temporarily left the culture, creating a layer of potential cultural heritage that lost its relevance for a while, but retained the opportunity to regain it under certain circumstances; or actually lost its relevance, forming an “archive” of heritage erased in the cultural memory of the living. generations. Thus, I. V. Kondakov's concept identifies three main types of heritage: actual, potential and withdrawn. These layers of heritage are interconnected with each other and organize the cultural space both horizontally and vertically ^{[15, p. 535]}. Thus, based on the challenges of our time, it is necessary to address such layers of cultural heritage that can provide answers to relevant questions. It is also important to pay attention to the educational value of knowledge about the culture of one's own people and of all mankind, as I. K. Kuchmaeva spoke about. It is necessary to instill from childhood the desire for a correct understanding and perception of worthy examples of national and world culture, and the task of scientists and experts is to clarify the historical role of cultural monuments, as well as their significance in modern times. Cultural heritage sites need an objective and historically accurate assessment by the scientific and expert community. This scientific and reliable interpretation of cultural heritage is a responsible and significant task, the basis for preserving the historical memory of culture ^[16]. Consequently, the identification of current topics in the field of culture and art, the scientific interpretation of works of art from the past, the study of the context of the creation of these works, awareness of their socio-historical role and value are one of the primary tasks of cultural research in the field of art. These studies make it possible to determine the role of certain artifacts, cultural phenomena, and historical events, to draw lessons useful for modernity, to actualize historical experience, and contain a certain educational potential that must be passed on to new generations. All of the above defines the problems of studying landscape painting with a Crimean theme as a Russian cultural heritage.

Painting plays a special role in the process of Crimea's integration into Russian reality. Artists, creating an inspired image of a beautiful region, glorified the power and glory of Russia. Russian Russian painting During the development of this concept, the stages of the formation of the image of Crimea in the late XVIII–early XX centuries were identified and characterized; a comparative analysis of the various stages of the formation of the image of Crimea in painting was carried out; an idea of the evolution of this image was formed, the factors that influenced this process were identified; it is analyzed how the Crimean theme correlates with the history of Russian painting in as a whole. The appearance of Russian landscape painting with a Crimean theme is associated with the annexation of the territory of the Crimean Peninsula to the Russian Empire in 1783. At that time, the landscape genre in Russian painting was in its formative stages. Teaching at the Academy of Fine Arts was mainly conducted by foreign artists, the best students were sent abroad to continue their studies. Traditionally, landscapes were "composed" in the workshop according to established patterns. Drawing nature from nature was recommended as a purely school exercise, while the landscape itself was composed from "drawings" taken from nature, as well as from classical samples. They cultivated a special kind of conditional idyllic landscape, where the classical rigor of Roman ruins was combined with a lyrical touch of scenes of rural life ^{[4, p. 94]}. These painted landscapes with ancient ruins, fortresses, and idyllic genre scenes were alien and incomprehensible to the students of the Academy of Arts. When the question of depicting new Russian territories arose, the situation changed: the artists had to "shoot" real views, working on "nature", which inspired them with its picturesqueness and richness of forms. But most importantly, these were Russian territories, and they needed to be explored, captured, and also paid tribute to Russia's might and achievements. The first visual artists who worked in the new lands, as a rule, were in military service (this was the case with M. M. Ivanov). Inspired by the importance of the tasks set, the artists achieved success in painting techniques, which influenced the development of the Russian landscape genre as a whole ^{[17, p. 126]}. A detailed and consistent study of the history of painting with Crimean themes also allows us to establish continuity in the transfer of skill from the first landscape painters (who stood at the origins of the genre of Russian national landscape) to their students and followers. This happened most often within the walls of the Russian Academy of Arts, as it has been the only art educational institution in Russia for more than a hundred years. A comparative analysis of the work of landscape painters belonging to different generations allows us to identify the dynamics of development not only of the genre of the Crimean landscape, but also of the entire Russian landscape painting. Having originated at the turn of the 18th and 19th centuries, Russian landscape painting followed an original path of development throughout the 19th century, reaching a fairly high level in the second half of the century. It was in the landscape genre that the greatest results and discoveries were achieved both in painting technique and in terms of content. Landscape painting with a Crimean theme, being its organic part, deserves a separate close study as a cultural heritage of Russia, as well as as a basis for the study of the image of Crimea in the visual arts. In the course of the research, three main stages of the origin, formation and development of Russian landscape painting with a Crimean theme were identified.

1. Painting with a Crimean theme at the end of the XVIII–the first third of the XIX century. After the annexation of Crimea to Russia, together with the military, builders, and researchers, visual artists were sent to Crimea. These discoverers of the colorful southern views sought to capture everything they saw, as well as the results of the economic and organizational activities carried out by the state on these lands. The works of these masters express pride in their Fatherland. Among the first were the remarkable Russian artists Mikhail Matveevich Ivanov (1748-1823) and Fyodor Yakovlevich Alekseev (1753-1824) ^{[22, p. 120]}. Studying the life and creative path of these artists allowed us to formulate trends that contributed to the emergence of authentic landscape painting in Russia: 1. Progressive—minded artists tried to develop an individual creative method, as opposed to academic imitation of foreign models, and pave their own way in art; 2. artists working in new lands had to spend many hours spend time in nature to solve practical problems, observe and peer at the depicted object, trying to convey light and color features; 3. — it was a time when service to the Fatherland was one of the highest values, and creative people were brought up to realize civic responsibility for their activities, their works feel proud of their country; 4— the nature and cultural environment of the Crimean peninsula, with a diverse ethnic composition of the population, evidence of ancient civilizations, produced a strong aesthetic effect on creative natures and contributed to the appearance of a large number of canvases with views of the Crimea. As a result of the above, a qualitative leap has taken place in the Russian landscape genre, and a tradition of Crimean themes in Russian painting has emerged. Landscape artists passed on their accumulated experience to their students. Landscape has already appeared in Russia as a genre based on domestic material.

2. The Crimean theme in Russian fine art of the middle of the 19th century on the example of the work of I. K. Aivazovsky. The next stage, which belongs mainly to the middle and, partly, to the second half of the 19th century, is associated with the work of Ivan Konstantinovich Aivazovsky (1817-1900). Being a native of Feodosia, I. K. Aivazovsky returned to his hometown as an established artist, linking his life and work with the Crimea, the sea, and the Black Sea Fleet. During his studies at the Russian Academy of Arts, he adopted the experience of his teachers of landscape painting M. M. Ivanov, F. Y. Alekseev, M. N. Vorobyov, who at one time worked in Crimea and other annexed territories. I. K. Aivazovsky reached creative heights by developing an original style in painting. In Europe, the artist gained well-deserved fame as a marine artist, after which he returned to his homeland, and then settled permanently in the Crimea. Being a true patriot and citizen, the painter glorified and developed his region with deeds and talent, and also formed a galaxy of followers — the "Cimmerian School" of painting, continuing the line of succession in the Crimean landscape genre. He was distinguished by his commitment to the elements of the sea, unusual states of nature, and heightened color relations. I. K. Aivazovsky's favorite themes were moonlit nights, sunrises, and sunsets. A feature of the romantic pathos of the painter was a fairly accurate depiction of reality with the transformation of beauty according to the laws of color. Phenomenal visual memory and the gift of a colorist made it possible to achieve the highest level of painting skills ^[18]. The great merit of the artist is his mastery in depicting naval battles and the Russian fleet. The events of the Crimean War of 1853-1855 were also reflected in the work of the famous batalist. I. K. Aivazovsky visited besieged Sevastopol and subsequently painted a number of paintings, including: "The Siege of Sevastopol" (1859), "The Capture of Sevastopol", "The transition of Russian troops to the Northern side" ^[19].

3. Russian painting with a Crimean theme in the second half of the 19th century. In the second half of the 19th century, the landscape genre took a deservedly important place in Russian fine art. The landscape of these years is characterized by narrative, it is dominated by rural motifs, very simple and mundane plots. A. K. Savrasov played a significant role in the development of the realistic landscape, and his early work was influenced by the influence of southern nature, embodied in the 1854 painting "Steppe with Chumaks in the Evening" ^[20]. I. I. Shishkin made a great contribution to Russian landscape painting by depicting a coniferous forest. His stay in Crimea had a beneficial effect on the landscape painter's creative style. The artist's Crimean sketches were noticed by critics and were a great success ^[21]. One of the most capable Russian landscape painters of the 70s, F. A. Vasiliev, lived in Crimea for the last two years of his life. The canvas "In the Crimean Mountains" (1873) embodies the sublimity and grandeur of the mountain landscape ^[7]. The 80-90s were marked by creativity
I. I. Levitan. In the work of the landscape painter, the traditional Russian landscape has acquired the status of a philosophical interpretation. Crimea also played an important role in the fate of the artist: about 50 Crimean sketches he brought to the capital were sold out directly from the exhibition in 1886, and the artist was talked about as the man who rediscovered Crimea for the Russian public. In the second half of the 70s, A. I. Kuindzhi became an innovative leader in Russian landscape painting. His paintings conveyed special states of nature and lighting effects. The pedagogical work of A. I. Kuindzhi was of great importance, he formed a very interesting school among Russian young landscape painters who participated in the creation of "new" art: K. F. Bogaevsky, Ya. I. Brovar, K. F. Wroblevsky,
V. I. Zarubin, G. O. Kalmykov, A. I. Kandaurov, P. F. Krause, M. P. Latri, V. K. Purvit, N. K. Roerich, A. A. Rylov,
E. I. Stolitsa, A. A. Chumakov, A. A. Borisov, P. N. Wagner, F. E. Rushits, N. P. Himona. Among the "posthumous" works of the artist there are landscapes dedicated to the Crimea ^[3].

The tradition of Crimean themes in Russian landscape painting was created by pioneering artists who worked in the "new" lands. Among them were M. M. Ivanov and F. Ya. Alekseev, who passed on their experience to followers, including M. N. Vorobyov, who became a professor of landscape painting at the Academy of Arts, and educated more than a hundred landscape artists, including the marinists I. K. Aivazovsky, L. F. Lagorio.,
A. P. Bogolyubov, as well as the landscape master I. I. Shishkin ^{[4, 5]}. I. K. Aivazovsky did his best to promote the development of young talents. He organized an art school in Feodosia, had his own students and followers, and often took care of the fate of young artists and their advancement in the capital. Among them are the natives of Feodosia, L. F. Lagorio (1827-1905) and A. I. Fessler (1826-1885). K. F. Bogaevsky was also influenced by I. K. Aivazovsky, copied his paintings, but studied with another artist, A. I. Fessler ^[22]. Studying at the Academy of Fine Arts was not easy for him, but the young man's creative abilities were noticed by A. I. Kuindzhi, who took K. F. Bogaevsky into his class and was able to reveal his distinctive talent. This talented painter is called the "singer of Cimmeria" (the ancient name of the Crimea). He embodied the splendor of the Crimean landscapes in an individual creative manner, with a clear composition, deep knowledge of nature, restrained flavor and commitment to the historical landscape. To the Crimean school of painting, which united the chroniclers of the Eastern Crimea, some researchers (R. D. Baschenko,
D. S. Berestovskaya, V. G. Shevchuk) include K. F. Bogaevsky (1872-1941), M. A. Voloshin (1877-1932), P. K. Stolyarenko (1925-2018), V. A. Sokolov (1923-1997), S. G. Mamchich (1924-1974).At the end of the 19th century, an era called the "Silver Age" began. Crimea inspired the creation of landscapes by many talented representatives of the "new" art. A comparison of the creative approaches of I. K. Aivazovsky, as a classical painter, on the one hand, and K. F. Bogaevsky and M. A. Voloshin, as creators of new art, on the other, revealed that they were distinguished by their love of the Crimean nature, the richest imagination and inexhaustible imagination, originality and originality. The tragic and epic portrait of the earth by K. F. Bogaevsky, the poetic landscapes by M.A. Voloshin, as well as the images of their great predecessor and inspirer I. K. Aivazovsky, are very exciting and multifaceted, conquer and are remembered for a long time, creating a wonderful image of the Crimean Peninsula.

Conclusions.

Having analyzed the main aspects of the study of cultural heritage, we have established the relevance of practical research on cultural heritage sites, the need for its scientific interpretation, and the choice of topics relevant in modern times, taking into account their educational role. The study of the Crimean theme in Russian painting in a socio-cultural context makes it possible to highlight many topical issues, including the integration of the Crimean Peninsula into the Russian socio-cultural space after its annexation to the Russian Empire in 1783; how the peninsula was developed; the relationship between the activities of artists in the "new" territories and the development of the landscape genre in Russian art about the importance of art in shaping a positive, sometimes heroic image of the Crimean Peninsula and the activities carried out by the state on these lands, which is of great educational importance today. The novelty of the research: 1. — for the first time, an approach was applied when works of fine art with Crimean themes from the end of the XVIII century to the beginning of the XX century were studied as objects of Russian cultural heritage in a broad socio–cultural context, taking into account a whole range of diverse factors; 2. — three main stages of the formation of the image of Crimea in Russian fine art were identified. since the annexation of Crimea to the Russian Empire, when the first landscape painters began working in the "new" lands, and throughout the 19th century. 3. — the factors and prerequisites that contributed to the emergence of authentic landscape painting in Russia have been identified; 4. — the relationship between the work of artists in the annexed territories, in particular in the Crimea, and the formation of genre of Russian landscape painting based on Russian material.

Conclusion.

Culture is Russia's most loyal and reliable ally, as it underlies our historical and social identity. One of the main tasks of culture is to restore memory and preserve heritage. In this regard, the interpretation of the national cultural heritage is an important and difficult task that falls within the competence of cultural scientists. A comprehensive multidimensional study of the cultural meaning of cultural monuments is necessary in order to present them to the consumer, given the importance of their educational function. Crimea, with its rich history, archaeological finds, unique natural landscape, microclimate and geographical location, has always attracted the attention of the cultural community. The landscape genre is designed to reflect the realities of nature and human life, transformed in the personal perception of the author, therefore, the study of this genre provides answers to many relevant questions. Among other factors, the formation and development of the landscape genre in Russia was influenced by the active creative activity of artists in the annexed territories: they needed to be studied, reflected and magnified the achievements of Russia. A consistent analysis of the image of Crimea in fine art is based on the study of the works of Russian landscape painters with Crimean themes, which are part of the cultural heritage of Russia. The results of this analysis allow us to get an idea of the perception of Crimea by Russian artists, as well as the creative embodiment of the image of the peninsula in paintings in different cultural and historical periods. The study of the broad socio-cultural context of the image of Crimea in painting touches on many aspects and justifies the interdisciplinary nature of research activities. Painting with a Crimean theme has great merit in the integration of Crimea into the Russian socio-cultural space, in the formation of a positive image of the peninsula, as well as the fruitful activities carried out by the state in these lands. The time frame of the study from the end of the 18th century to the beginning of the 20th century allows us to identify the dynamics in the development of Russian landscape painting with Crimean themes from the moment of its inception to the appearance of "new" art.